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james tissot
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Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Brooklyn Museum
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Following the accusation of blasphemy by the chief priest—a crime that demands the death sentence in ancient Jewish tradition— Jesus is brought before Pontius Pilate, the Roman governor of Judaea, at his palace. Bound and bloodied from his beatings, a seemingly frail Jesus faces Pilate, who wears the pristine toga of his rank. They meet alone in the Hall of Judgment, though several eavesdroppers appear through the screen in the background. In the moment depicted by Tissot, Pilate asks Jesus...
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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In John’s account, the Pharisees seek the counsel of the chief priest Caiaphas, fearful that Jesus’ growing ministry will provoke the wrath of the Romans and thereby jeopardize the Jewish nation. For the sake of political expediency, Caiaphas urges the priests to find a way to kill Jesus. Tissot emphasizes the clandestine nature of the meeting by placing the participants at the top of the stair, at a distance from the viewer, a rare compositional strategy. Their turned backs and black hoods...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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Having departed from the Temple, as Tissot notes, for the final time, Jesus sits with a small group of his disciples: Peter, James, Andrew, and John the Evangelist. Against the backdrop of the Temple complex and the thick, fortified walls of Jerusalem, he prophesies the destruction of the Temple and its splendor—an event understood by the group as marking the end of times. Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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With this scene, Tissot continues to explore Mary’s role in the “Divine plan,” as the artist called the biblical narrative. Mary prays or “sings” her praise of God for giving her a part to play in humankind’s redemption. While The Annunciation underscored the Virgin’s humble station and modesty, here she stands with head and hands raised to the sky as she utters what Tissot characterizes as a “quiet, reverent, whispered expression of a spirit moved to its very depths.” Her...
Topics: art, European Art
Brooklyn Museum
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Invited to Bethany, where the siblings Lazarus and Martha reside, Jesus finds respite from his ministry and peace to converse with friends. Intent on listening to Jesus, the Magdalene takes a place at his feet—much to the frustration of Martha, who expects her help with the guests, Tissot relates. The Magdalene’s devoted discipleship proves unflagging throughout the narrative from the ministry to the Passion and the Resurrection; and, accordingly, her posture here at the feet of Christ...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Complementing the narrative of the venerations by the humble shepherds, the Magi, guided by a moving star, traveled separately from their individual lands in the east in search of the newborn Jesus. Tissot depicts the Magi at the moment when their retinues meet in the vast, arid landscape of the volcanic hills on the shores of the Dead Sea between Jericho, the Kedron Valley, and Jerusalem. In his commentary, the artist notes that their flowing saffron robes—a luxurious counterpoint to the...
Topics: art, European Art
Brooklyn Museum
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According to John, while the Roman governor continues to find Jesus blameless, he accedes to pressure from the priests and decides to “chastise” him through scourging. Jesus is bound, defenseless, to a marble column and whipped before a crowded court as Pilate looks on from the palace loggia in the background. Christ’s tormentors perform a punishment most likely inflicted, Tissot tells his readers, with leather whips weighted with pieces of bone. Object metadata can change over time,...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Sitting astride a donkey, Jesus enters Jerusalem during the Passover season in triumph, receiving the acclamation of his followers, who call him the prophet of Nazareth and place garments or other textiles in his path, a homage typically reserved for kings. The multitudes also register their respect with bowed heads, outstretched arms, and clapping hands. Several of his followers celebrate his arrival with palm fronds, a symbol of victory in Jewish tradition. These palms subsequently gave the...
Topics: art, European Art
Brooklyn Museum
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Tissot renders the technical elements of the Crucifixion with a profusion of unforgettable details intended to encourage viewers to contemplate the method of Christ’s execution on a visceral level. Although Tissot follows celebrated artistic predecessors such as the Flemish painter Peter Paul Rubens (1577–1640) in his depiction of the brute physical exertions required of those who raised the cross, he also adds further nuances to the visual tradition, depicting the elaborate system of...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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In the ninth hour of the Passion (three o’clock in the afternoon), Jesus “gives utterance to that cry of anguish, the most heartrending which ever resounded upon this earth,” Tissot writes. In his commentary, Tissot indicates that Christ’s words—the title of this work—are derived from the opening verse of the 22nd Psalm, a text that begins with a lamentation on God’s seeming absence or desertion. Object metadata can change over time, please check the Brooklyn Museum object record...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Although Matthew, Mark, and Luke all describe Christ’s temptations by Satan, Tissot cites only the version given by Luke. For reasons that remain unclear, he changes the order of the tests given by Luke. In Tissot’s first image, Satan abducts Jesus and soars to a precipitous height—emphasized by the low, bright horizon line in the distance. The shadowy darkness of the claw-toed devil contrasts with Jesus’ pristine white cloak. From their great height, Satan tempts Jesus with the many...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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eye 56
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Topics: art, European Art
Brooklyn Museum
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Establishing the sacrament of Communion—in which the bread and wine of the Passover feast come to symbolize the body and blood of Christ—Jesus himself distributes the bread to each disciple, suggesting the intimacy each of them shared with him at this solemn moment. For the artist, this event marked not only the apostles’ liturgical initiation but also the beginning of Christ’s church on earth and the establishment of its most important tenets and rituals. Object metadata can change...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Exclaiming “Behold the man!,” Pilate shows the beaten and bloodied Christ to the crowds. The people gathered in the court below urge his execution, with pointed fingers raised in accusatory gestures. On the loggia before the assembled crowd, Pilate—convinced of Jesus’ innocence and impressed by his dignity, according to Tissot’s account—publicly washes his hands on the loggia before the square, symbolically distancing himself from the execution to follow. Object metadata can change...
Topics: art, European Art
Brooklyn Museum
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In two short verses, Mark recounts the deal struck between Judas and the chief priests, who will give him money to betray Jesus. Here, Judas negotiates his fee (he is shown with his fingers raised). With his suspicious backward glance at the exchange between Judas and the priests, the unidentified foreground figure draws the viewer’s attention to the proceedings. Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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eye 66
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Topics: art, European Art
Brooklyn Museum
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eye 94
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Topics: art, European Art
Brooklyn Museum
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Following Jesus’ triumphal entry into Jerusalem, the chief priests and scribes meet to discuss their response to the challenge of his increasing popularity: they resolve to find a way to destroy him. Once more, Tissot focuses on the costumes of the priests, with their elaborately woven and draped textiles (fringed with fur, in the case of the white-bearded priest at center), and the lavish building materials of the Temple complex, with its marble columns topped with carved capitals. The...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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This painting illustrates a parable in which Jesus likens those who ignore his teachings to the blind leading the blind. Holding on to one another but without informed guidance, the blind are vulnerable to danger. In his commentary, Tissot asserts that during his stay in Jerusalem he observed the following practice: “In the streets of Jerusalem numbers of blind men may still sometimes be seen, walking one behind the other in files, and clinging to each other, under the leadership of one of...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
image
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In Luke’s Gospel, the shepherds in the hills and valleys surrounding Bethlehem first learn of the miraculous event from an angel who announces the birth of the Savior. The accompanying angels joyously sing their praise of God and urge good will to men, a passage that gives its name to a well-known hymn, “Gloria in Excelsis Deo” (Glory to God in the Highest). In the text he wrote to accompany this image, Tissot explains the local practices for pasturage in the Middle East, noting that...
Topics: art, European Art
Brooklyn Museum
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eye 93
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Topics: art, European Art
Brooklyn Museum
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eye 70
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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eye 59
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Topics: art, European Art
Brooklyn Museum
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eye 62
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Topics: art, European Art
Brooklyn Museum
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Although Jesus took on several followers early in his ministry, in this painting he is shown formally ordaining twelve men to help spread his teachings. They are Peter, James Major, John, Andrew, Philip, Bartholomew, Matthew, Thomas, James the Less, Thaddeus, Peter, and Judas Iscariot. Following the Gospel account, Tissot situates this event on a mountain, noting later that Jesus frequently withdrew to such elevated spots to be closer to God. Object metadata can change over time, please check...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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eye 47
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Topics: art, European Art
Brooklyn Museum
image
eye 115
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Topics: art, European Art
Brooklyn Museum
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In this parable, a rich man upon his death is sent to hell for ignoring the needs of a certain beggar named Lazarus (a character distinct from the man Jesus later resurrects), who had pleaded at his door for scraps and subsequently died. Now, as the rich man beseeches Abraham for relief from his sufferings, the Old Testament patriarch castigates him for his greed and his lack of charity during his lifetime. Here Tissot imaginatively creates a powerful image of the rich man’s descent into a...
Topics: art, European Art
Brooklyn Museum
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eye 91
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Brooklyn Museum
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eye 132
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Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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The apostle Thomas, who had received the news but not a visit from the risen Christ, refuses to believe in the reality of the Resurrection. When Christ again appears to the disciples, Thomas is still not convinced and, for confirmation, wants to put his fingers into Christ’s wounds. Jesus invites him to do just that but then reproaches him for his lack of belief. Now kneeling before his master, Thomas hangs his head in shame, as Jesus bares his wounded side and declares to Thomas, as well as...
Topics: art, European Art
Brooklyn Museum
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Apart from Jesus, Mary Magdalene is the only individual in Tissot’s series accorded more than one study, or portrait—an exception that announces her importance, not only to the narrative itself but also to the artist. As scholars have suggested, Tissot appears to have modeled the Magdalene’s features after his late mistress, Mrs. Kathleen Newton, who had died of tuberculosis in 1882. Like many in the nineteenth century, the painter was particularly interested in the occult, and he had...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Following the death of his friend Lazarus, Jesus goes to Bethany to comfort Martha and Mary Magdalene for a loss that he also felt keenly. Both women lament that Jesus was absent when Lazarus took ill, knowing that he would have prevented the death with his healing powers. Affected by the loss, Jesus weeps. Led to the darkened tomb of Lazarus, Jesus commands the removal of the stone covering the opening and, after a prayer to God, resurrects the dead man before witnesses who gasp in...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Brooklyn Museum
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eye 67
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Brooklyn Museum
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Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Brooklyn Museum
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eye 51
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Brooklyn Museum
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Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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In a subject that he characterizes as “rarely, if ever, treated,” Tissot paints Jesus in prison—bound to a stone post, his hands chained but upraised in prayer. The artist notes the white light shining down, a further indication of the early hour on Good Friday. While Jesus prays, his guards, wearing armor, slump over in pre-dawn slumber. Dressed in a brown garment, Jesus has been stripped of the glowing white robe associated with his ministry. Now, as Tissot notes in the accompanying...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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eye 82
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Brooklyn Museum
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eye 62
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Brooklyn Museum
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eye 41
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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When warned by Jesus that he would deny him three times before the cock crowed—before the dawn—Peter vehemently objected, asserting his fidelity and pledging to die alongside Jesus. However, the prophecy is realized. Peter first denies his status as a disciple to the maidservant who points an accusatory finger at him while guarding the door to the chief priest’s chamber. Later, admitted to the priest’s rooms, where he warms himself by the fire, Peter again rejects the association when...
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art